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It could all seem pretty heavy when you also consider Linklater's ethereal approach. The Omnipotent camera floats throughout the city during the course of 24-hours (condensed to a neat 90 or so minutes), picking the most revealing and darkly amusing conversations of the individuals it passes. Once you've had a flavour of one character, it moves on giving us a Scroogesque view of a world that we were already aware of but had never really looked at in a particular context.
What elevates the film above the maudlin, though, is a reassuring ability to laugh at itself. To say, 'look how much we've messed ourselves up - isn't it ridiculous?' The fact that Linklater himself plays the first character we meet makes us realise that he's with us all the way. He's one of them - one of us. The slackers.
Appearing roughly around the same time as Douglas Coupland's literary equivalent, Generation X, Slacker didn't necessarily pave the way for a more aware world. Rather, it highlighted the apathy of the aware - something seemingly impenetrable from the powers that be. How could they get to us if we didn't care what they did enough to do anything about it but yack? Since then, such apathy or slackerism has been given the corporate gloss and the 'alternative' has now been so grossly commodified that the masses are able to write off films like Slacker as 'cool' in the most base, aesthetic sense. The layers of irony are so dense they become confusing.
It's reassuring to know that people like Richard Linklater - not quite as big a Slacker as the rest of us - care enough to continue telling it like it is. Now click the button, buy the DVD you don't really need without leaving the house and see if there's some takeaway left in the fridge while you wait for it to arrive.
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